ARGAN Giulio CarloMareMagnum
MAN RAYMareMagnum
Autoritratto.
1975In-8°, pp. 317, 60 illustrazioni in tavv. f.t. e illustrazioni n.t., brossura editoriale illustrata.
Libreria Xodo · Italy€20.00
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1970In 8, cm. 15,5 x 21, pp. 126 + (2) con 45 illustrazioni in bianco e nero a piena pagina nel testo. Brossura editoriale illustrata. Leggere tracce di polvere alla coperta. In ottimo stato. Volume n. 4 della collana: 'Nadar' ricerche sull'arte contemporanea. Il volume continene molte opere e un testo di Man Ray oltre alle testimonianze di Aragon, Breton, Duchamp, Eluard, Richter, Tzara. Nel 1922 Man Ray produce i suoi primi fotogrammi, che chiama (rayographs), ovvero immagini fotografiche ottenute poggiando oggetti direttamente sulla carta sensibile. L'artista scopri' per caso le rayografie nel 1921: mentre sviluppava alcune fotografie in camera oscura, un foglio di carta vergine, accidentalmente, fini' in mezzo agli altri e dato che continuava a non comparirvi nulla, poggio', piuttosto irritato, una serie di oggetti di vetro sul foglio ancora a mollo e accese la luce. L'artista ottenne cosi' delle immagini deformate, quasi in rilievo sul fondo nero. Attraverso i suoi rayographs, termine costruito sul suo cognome, ma che contemporaneamente evoca il disegno luminoso, poteva sondare ed esaltare il carattere paradossale e inquietante del quotidiano.
1975Paris, Editions du Chêne 1975. In-8 relié pleine toile éditeur sous jaquette illustrée rempliée de 208 pages. 20 planches hors texte en couleurs et 133 illustrations en noir. Index en fin. Bel exemplaire.
1969NRF Gallimard Le Chemin 1969, In-8 broché, couverture à rabats. 182 pages. Frontispice de MAN RAY. Quelques rousseurs sur la couverture. Bon exemplaire. Broché
1975In-8°, pp. 317, 60 illustrazioni in tavv. f.t. e illustrazioni n.t., brossura editoriale illustrata.
1994In-8 (cm. 29.70), brossura editoriale illustrata, con alette, pp. (342 circa), con numerosissime illustrazioni in bianco e nero nel testo. Texte en français. In ottimo stato (nice copy).
1990In-4 (cm. 29.90), brossura illustrata, pp. 256, con illustrazioni in bianco e nero nel testo. In ottimo stato (nice copy).
1977In-8 (cm. 24.70), cartonato editoriale, sovracoperta editoriale illustrata, pp. 230, (2), con illustrazioni in bianco e nero e a colori nel testo. Questa monografia uscì in concomitanza alla Mostra “Man Ray” presentata all’isola di S. Giorgio in Venezia dal 18 Luglio al 10 ottobre 1976. In buono stato di conservazione (good copy).
1977In 8° quadrotto; pp. 14 + 160 tavole in nero fuori testo + pp. 56 n.n. di catalogo; cartonato editoriale con titoli al piatto e al dorso e sovraccoperta illustrata; cucito. CONDIZIONI OTTIME (minime tracce d'uso alla sovraccoperta)
Paris, Robert Laffont, 1964. Grand in-8, broché, couverture noire illustrée d'un portrait couleur or, 352 pp. Édition originale de la traduction. Pas de grand papier. Documents photographiques hors-texte.
Paris, N.R.F., " Une Oeuvre, un Portrait ", 1924. In-12, broché, 102 pp. (dos insolé). Edition originale. Un des 115 exemplaires hors-commerce numérotés sur vélin.
197728,5 cm, brossura, p. 32, numerose illustrazioni in nero nel testo. Tra l'altro Fiorella Minervino, Man Ray ed io.
1970Coola Einaudi Letteratura n. 11. E' questa la prima volta che gli oggetti elaborati e fotografati da Man Ray, nel corso di un cinquantennio e più di lavoro, vemgono raccolti da Man Ray stesso in una scelta organica. In 8vo, mm. 125x205; pag. 287 (7), con 119 illustrazioni fotografiche in nero. Brossura editoriale figurata. Buona la conservazione. Codice inv.1031090
1991A clean, unmarked book with a tight binding. Slight edge wear to cover. 8 1/4"w x 11 3/4"h. 256 pages. Based on an exhibition held at the Centre National d'Art et de Culture Georges Pompidou, Paris, from December 1981 to April 1982. Essays by Philippe Sers, Herbert Molderings, and Janus, three texts by Man Ray, including an interview of him.
1998A clean, unmarked book with a tight binding. 530 pages, heavily illustrated throughout with b&w photos and prints. Slight edge wear to cover. Corners of very last page torn off (photography credits, does not affect text)
1983Book is in near fine condition with creaseless covers and spine, very light scuffing of covers. Binding is solid and square, exterior shows no other blemishes, text/interior is clean and free of marking of any kind. 130 pages. Exhibition catalog at the Victoria and Albert Museum, March - May 1983 showing the results of the choices of a panel of 30 distinguished "photographers, painters and writers" such as David Bailey, Bryn Campbell, David Hockney, R. B. Kitaj, Aaron Scharf, Roy Strong, et al, who caption each full page photo with why they love the work. Includes works by 45 photographers, including Ansel Adams, Diane Arbus, Cecil Beaton, Walker Evans, Eikoh Hosoe, Josef Koudelka, Jacques-Henri Lartigue, Irving Penn, Man Ray, Alfred Stieglitz, Joel-Peter Witkin, Max Yavno, and others. Introduction by Mark Haworth-Booth; includes bibliographical references and index of photographers. A great collaboration of artists admiring and appreciating other artist's work.
in-8 etroit, 178 pages, broche, couverture illustree plastifiee (photo de MAN RAY). Tres bel exemplaire. [JU-1]
in-8 étroit, 138 p., broché, couverture illustrée [STR]
1937ref. 195165Paris: G.L.M. 1937. Inscribed by Man Ray to Surrealist muse Lise Deharme First and only edition presentation copy from the photographer inscribed on the title page to the Surrealist writer and muse Lise Deharme "A mon amie Lise affectueusement Man Ray Juin 1937". Though a successful writer in her own right collaborating with Joan Miró and Claude Cahun among others Deharme is best remembered as a Surrealist muse enchanting André Breton who contributed the foreword and posing as the Queen of Spades for Man Ray's image Lise Deharme en dame de pique. Described as Man Ray's "photographic swansong" this ironically titled little publication marked the turning point in the artist's life when he shifted his focus from photography to painting Parr & Badger. It is thought that during production the plate for one of the images "Plein-air artistique" was damaged and for many copies a reprint on a different paper stock was included. This copy has all 12 prints on the matching original paper stock. The die-cut outer wrapper was designed to function as a rudimentary frame for ease of viewing the images cropped to the edge as intended. Octavo. With 5 unnumbered letterpress leaves text one side only 12 heliograph plates after photographs by Man Ray. Sheets loose as issued in original blue wrappers front cover lettered in black. With the original die-cut black window wrapper. Blue wrapper faded through window; top edge of black outer wrapper slightly bumped: otherwise a near-fine copy. Parr & Badger p. 108. unknown
1966ref. 91822Paris: Jean Petithory 1966. Fine. Man Ray shoots Surrealist Mannequins Jean Petithory Paris 1966 26.5 x 30.2 cm Relié sous étui First edition one of 37 numbered copies ours one of a few hors commerce copies for collaborators and friends signed by Man Ray on the justification. 15 photographs on watermarked vélin Montgolfier mounted on guards each bearing Man Rays printed studio stamp Épreuve originale atelier Man Ray Paris. The copy exceptionally contains the original subscription prospectus and an invitation to the book launch exhibition opening night organised by Simone Loliée. Publishers binding by the renowned bookbinder Mercher bearing his signature in the negative of the photographic paper on each endpaper and pastedown flat black shagreen spine title author and date stamped in gilt lengthwise photographic boards with gilt background after an original composition by Man Ray specially designed for this work original wrappers preserved black paper slipcase. Illustrated with 15 original photographic prints of the mannequins photographed by Man Ray at the 1938 International Exhibition of Surrealism. The mannequins had been transformed by Man Ray himself Salvador Dalí Oscar Dominguez Marcel Duchamp Max Ernst Espinoza Maurice Henry Marcel Jean Léo Malet André Masson Sonia Mossé Joan Miró Wolfgang Paalen Kurt Seligmann and Yves Tanguy. They were presented within a Surrealist staging by Marcel Duchamp and lighting designed by Man Ray himself. During the 1930s the European Surrealists had a fetishistic interest in simulated woman-female mannequins that they transformed into playful sculptural works of art. In 1938 Man Ray photographed a series of their work at the Exposition Internationale du Surréalisme presented in the unsettling half-light of the Galerie des Beaux-Arts on the rue du Faubourg Saint-Honoré. Visitors walking down a corridor on the Rue Surréaliste saw a series of dressmakers mannequins inhabitants of a dreamlike Paris scantily clad or adorned with a jumble of incongruous objects and flanked by street signs bearing highly symbolic names: some real such as the Rue des Vieilles Lanternes where Gérard de Nerval took his own life or the Rue Vivienne where Lautréamont once lived alongside invented ones such as the Rue aux Lèvres the Rue de Tous-les-Diables and the Rue de la Transfusion-de-Sang. The installations of this first international Parisian Surrealist exhibition organised by André Breton and Éluard marked a decisive moment in the history of the movement. For the first time the event dispensed with a straightforward retrospective of individual artists in favour of a series of phantasmagorical stagings live performances and ephemeral artworks prefiguring the modern concepts of installation and happening. Nearly 3000 visitors are said to have thronged to this 1938 Paris exhibition by the light of electric torches: One has the feeling of leaning over certain exhumed walls and of being the first to decipher their signs. Jean Fraysse Le Figaro littéraire 29 January 1938. From Hausmanns sculpture and de Chiricos paintings to the works of Hans Bellmer the mannequin had long occupied a central place in the Dada and Surrealist artistic vocabulary and was cited in Bretons 1924 Manifeste. These woman-objects staged in the spirit of the Musée Grévin offered infinite possibilities for the transformation of the body and the exploration of the unconscious. Some have remained enduringly celebrated such as Le Bâillon vert à bouche de pensée André Massons mannequin enclosed in a birdcage or Duchamps considered the only three-dimensional version of his alter ego Rrose Sélavy taking the form of a man cross-dressed as a woman in the style of Claude Cahun. The mannequin of lesbian artist Sonia Mossé friend of Artaud and photographed by Man Ray with Nusch is her only known artwork and the sole mannequin in the installation created by a woman artist. Man Ray had incorporated Jean Petithory hardcover
1947ref. 91779Paris: Editions Cahier d'art 1947. Fine. Dora Maar Signs Her Own Work Editions Cahier d'art Paris 1947 18.50 x 24.50 cm broché First edition which supposedly had an issue of 500 numbered copies. Gallimard donated the paper required for the production of this book but only 258 copies could be printed rather than the 500 announced in the justification from a note by Paul Éluard. A slight crease to the covers slight marginal sunning primarily affecting the rear cover. Illustrated with 11 photographs of Nusch Éluard by Man Ray and Dora Maar. Le temps déborde is a collection of eleven poems published in 1947 a few months after the sudden and unexpected death of Paul Éluards wife Nusch. A poignant ode to their seventeen years of life together the work is illustrated with striking portraits of Nusch. This exceptional copy is signed by Dora Maar beneath or directly on each of her five photographs. We are aware of only one other copy signed by the photographer and none signed by Man Ray. A rare and beautiful copy. In 1965 paying tribute to his friend Aragon recalled his discovery of this masterpiece: He signed it with an invented name Didier Desroches because he had killed Paul Éluard. I let him talk. What he had shown me of Didier was of a confounding beauty. This slender book which was to appear as the work of an unknown to say merely that in my eyes it surpasses everything Éluard ever signed with his own name is to say too little. I thought so then and I think so today. The attribution of each photograph in the collection to either Man Ray or Dora Maar has long been a source of confusion. Strangely the question seems to attract little scholarly attention: as Mary Ann Caws notes Dora Maars portraits of the Surrealists muse were originally attributed to Man Ray since they were so clearly superb in their construction and realization These photographing women: The scandal of genius Angels of anarchy: women artists and surrealism 2009. This misattribution was also a consequence of the systematic erasure of Dora Maars photographic work which she abandoned at Picassos request. The two series by Dora Maar and Man Ray are further entwined by their shared style and by both artists fascination with Nusch. Audacious framing and subtle interplay of shadow and light reflect the two Surrealist photographers formal innovation. Beyond aesthetic alchemy the three of them were very close at the time of these photographs 1935-1938. For several years they all took part with their partners Ady Fidelin and Paul Eluard in late-summer gatherings in the rustic village of Mougins overlooking Cannes at the invitation of Picasso where they indulged in role play identity and couple exchanges Alicia Ortiz Dujovne Dora Maar. Some of the collections illustrations are well known: Man Rays Nusch with mirror his diptych with her eyes closed and open and the celebrated portrait by Dora Maar illustrating the poem LExtase with her carefully lit face floating in darkness supported only with her fingers an elusive expression in her eyes. In one unforgettable version of the same image Les années vous guettent The years lie in wait. Maar superimposes a silvery spiders web over Nuschs features Louise Baring Dora Maar: Paris in the time of Man Ray Jean Cocteau and Picasso. The resonance of the photograph is all the more powerful since Nusch died early of a heart attack just on the day she was to lunch with Dora Maar for whom it was an irreparable loss. Mary Ann Caws For other photographs attribution had remained uncertain notably the portrait of Nusch bare-breasted and draped in foliage illustrating En vertu de lamour: the absence of a signature supports the attribution to Man Ray. A sublime poetic and artistic tribute featuring the finest portraits of Nusch central figure in Man Ray and Éluards shared imagery and graceful model for Dora Maars most accomplished portraits at last restored to their right Editions Cahier d'art unknown
1991ref. 1-0500274738Thames & Hudson 1991. Paperback. New. reprint edition. 255 pages. 12.00x8.50x0.75 inches. Thames & Hudson paperback
1969ref. 91841Vence: Galerie Alphonse Chave 1969. Fine. ""Without the Signature the Painting Is Worth Nothing"" Galerie Alphonse Chave Vence 1969 20.3 x 25.5 cm En feuilles sous couverture First edition one of 500 copies of this catalogue for the exhibition Les invendables The Unsellables featuring 40 drawings and paintings at the Galerie Alphonse Chave. Illustrated with 5 full-page black lithographs and 6 tipped-in colour plates. In his characteristically provocative style Man Ray opens with a preface mocking collectors' tendency to purchase names on canvas rather than the artworks themselves. Among the pieces selected for this book are several examples from his series of automatic paintings called ""Peintures naturelles "" including the cover created without the use of a brush. Among the other artworks one can find subtle allusions to famous painters: a Déjeuner sur l'herbe a markedly Picassian Centaure disjointed marionette figures Antipolis evoking the compositional language of de Chirico and an Observatoire reminiscent of a Braque still life. Galerie Alphonse Chave unknown
1937ref. 90937GLM 1937. Fine. GLM 1937 16.2 x 25.2 cm En feuilles ENGLISH DESCRIPTION ON DEMAND Edition originale pour laquelle il n'a pas été tiré de grands papiers. Préface d'André Breton intitulée ""Convulsionnaires"" composée d'aphorismes et imprimée sur papier vélin crème. Illustrée de 12 photographies légendées par Man Ray imprimées sur papier couché jaune paille. Couverture bleu Klein parfaitement conservée sous chemise noire à fenêtre et à un rabat. Exemplaire en superbe état de ce célèbre ""livre de dialogues"" surréaliste de Man Ray préfacé par André Breton. ""Dans cet ouvrage surréaliste il ny a donc pas seulement un dialogue surprenant et énigmatique entre les photographies et leurs légendes mais aussi entre les artistes André Breton et Man Ray. . Ce quil Man Ray veut cest créer du chaos psychique et aviver limagination du lecteur-spectateur. Dans ce livre de dialogue le photographe apparaît comme une lanterne magique qui accentue lénigme en léclairant."" Wouter Marinissen La lanterne magique: Man Ray et léclairage de lénigme dans La Photographie nest pas lart Le magicien-photographe rassemble ici douze chefs-d'oeuvre parmi lesquels figurent de saisissants portraits féminins répondant aux désirs surréalistes de Breton dans la préface dont celui de se transformer en femme : ""Je voudrais pouvoir changer de sexe comme de chemise"". Le Sex-Appeal tout en transparences ""l'une des photographies préférées de Man Ray selon le Musée national d'Art Moderne s'accompagne de visages énigmatiques et glamour Miriam Hopkins et Plein air artistique qui s'oppose à la photographie Vide-air utilitaire représentant l'Empire State Building. Plusieurs clichés naissent de la luminosité même comme son Cahier acheté à un mendiant combinant prise de vue solarisée et photogramme inversé :""Le gros plan sur le carnet dégageant de leur contexte et de toute échelle de mesure les motifs réticulés du papier de la reliure oblige à une autre perception de l'objet : vue au microscope ou nébuleuse lointaine il prend une dimension sur-réelle par le simple fait du cadrage et du grossissement."" Bibliothèque nationale de France. D'autres vues mettant en scène des animaux aux légendes contradictoires et provocantes éveillent le psyché du spectacteur : la chaotique colonie de fourmis intitulée Cerveau bien ordonné l'accouplement de grenouilles par photomontage qui devient Quand la nature fait des machines et la rayographie d'une chauve-souris proclamant même avec arrogance sa nature reproductible et commerciale dans son titre Photographie intégrale et cent pour cent automatique. La série s'achève avec le très surréaliste autoportrait du buste de Man Ray affublé de lunettes-grille intitulé Dans les yeux des autres : ""Cela signifie-t-il que Man Ray considère ce portrait à lunettes comme ce qu'il donne à voir à autrui et qui constitue un double masque puisqu'il est inspiré d'un masque de plâtre et que les yeux sont rendus quasiment invisibles par un accessoire aussi spectaculaire "" Agnès Vinas. Précieux manifeste de Man Ray anticonformiste oscillant entre apologie et dérision dont le titre ironique La Photographie n'est pas l'art introduit l'uvre d'un artiste qui a contribué à établir la photographie comme un art. Â GLM unknown
1993ref. 182589Kyoto: Gingami shobo 1993. Signed limited edition number 16 of 20 copies signed by the author additionally with a presentation inscription from the author on the half-title "For Roger Wicker. Thank you very much. Teruo Ishihara. September 27 1993." This attractive publication by a leading Japanese collector of Man Ray art and archives is accompanied by a selection of material sent by Ishihara to Wicker concerning other exhibitions of the artist in Japan. Wicker was the proprietor of Berkeley's Turtle Island Book Shop. Loosely inserted in the catalogue is a typed letter signed from Ishihara dated the same day as the presentation thanking Wicker for helping him source material related to Man Ray. The related ephemera includes Ishihara's 1994 folding change of address notice number 2 of 20 signed copies with a laid-down colour photograph a typed letter signed with eight colour photographs of a December 1996 exhibition in Nagoya a further typed letter signed two loose exhibition photographs assorted flyers and a booklet for the 1987 show at Kodama Gallery Osaka. Items from Ishihara's collection appeared in "Man Ray of Our Affections: An Exhibition Celebrating the 135th Anniversary of His Birth" 11 January - 23 March 2025 Tokyo Fuji Art Museum. Quarto 32 pp. With 16 colour photographs laid down on folding card leaves 2 colour photographs laid down on acetate leaf; title page guarded with acetate with laid-down photograph pink paper silhouette of hand and arm and printed title label; bound-in colour bifolium advert for 1991 exhibition; in-text explanatory keys identifying exhibits in photographs. Text in Japanese. Original green card wrappers front cover with window looking through to title page. Sunning to spine of catalogue light general creasing: a fine collection. unknown
2008ref. 205557Paris: Ed. Dilecta 2008. First edition. Softcovers. Two booklets. The first booklet features the texts of two lectures by Man Ray in English and French. The second features captions in English and French for photographs by Carlos Munoz Yague along with information about a documentary directed by Francois Levy-Kuentz. Both booklets in fine condition and with a fine dvd and all housed in a fine two part cardboard box with foam insert. Uncommon look at the studio of artist and photographer Man Ray. Ed. Dilecta unknown
